Booth 912-913
(See map below)
About the Artist
It starts when the light--usually through trees or leaves or on water--is breathtaking, and I have to take photos. Back in the studio, I create a composition inspired by the photo(s), simplifying and eliminating unnecessary details, and picking out the minimum number of colors required to create the effect I want. It's a brain-straining puzzle to figure out where shapes/colors should and should not overlap each other, which colors will be opaque or transparent, and in what order the colors ought to be printed. At this stage I also determine if any carvings can be reused to create additional carvings (the reduction method), which makes registration (lining up the new layer on the previous layers) easier. Only when all of that is figured out do I trace the shapes from my sketch and transfer them onto a piece of linoleum that I've cut and mounted to stiff board, and start on the first carving. I mix up color #1 and make about 240 prints from that first carving, knowing that many imperfect prints will be trashed along the way, but hoping for an edition of 200 at the end. After the first printing is finished, I trace the shape of my print, and the pertinent shapes on my sketch, to use as a guide for carving #2. The process continues until all colors are printed.
